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                <text>^L 6" AN EXPERIMENTAL Inaui THE NATURE, AND PROPAGATION, HE OF A BY JOHN LESLIE. LONDON: PRINTED FOR J. MAWMAN, NO. 22 POULTRY J SOLD ALSO BY BELL AND ERADFUTE, EDINBURGH. 1804. T. Gillct Printer, Salisbury Square. /&amp; ; AND ILLUSTRATIONS. 52 1 Note XV. p. 133. The influence which the slow communication of impulse must have in heightening the effects casual disturbing force, receives illustration from the any through the atmosphere of of phenomena observed in narrow tides seas, where the waters to rise far above the height assigned are by theory. Compare, for example, the prodigious accumulation which takes place in the British Channel, with the moderate recipro cating swell that prevails in the free expanse of the Pacific Ocean. Straits and estuaries, by confining the current of influx, cause a derangement similar to what is produced by sympathy between the imperfect air, in augmenting If our the unequal the distant portions of the of that fluid. distribution globe had been smaller, the variations of the barometer would have been proportionally diminished. To investigate accurately, therefore, of wind, it is requisite to consider the motive acting simultaneously, progressive for the origin and effects diffusion. but as spreading themselves The problem will its complete solution, upon the extension partial differences ; a forces not as hence of with a depend, the method of discovery in the higher calculus to which it And though, in an aqueous medium, the ac tual motion is much slower and the propagation of impulse swifter, the currents of the ocean must likewise experience a first gave rise. certain degree of modification. The profound researches of on that subject would consequently require some Laplace revision. Note XVI. p. 136. Mr. Hume is the first, as far as 1 know, who has treated of causation in a truly philosophic manner. sary Connexion seems a model His Essay on Neces of clear and accurate reasoning. But ; KOTES 5*8 But it was only wanted to dispel the cloud had long darkened so of mystery which that important subject. The unsophis ticated sentiments of mankind are in perfect unison with the deductions of logic, and imply nothing more at bottom, in the relation of cause and effect, than a This will distinctly quence. appear constant and invariable from a critical se examina tion of language, that great and durable monument of human Etymology has indeed been often exposed to ridi cule, by the crude and fanciful opinions of philologists and thought. dreaming Yet therefore to cover it with un antiquaries. To trace qualified contempt, would only betray ignorance. etymologies with sober light of philosophy, circumspection, and guided by the of ingenuity, is not only a liberal exercise but elucidates finely the various phases of the human mind, and represents to our view the history and progress of its Derivations are not safely inferred more abstruse operations. from solitary instances ; they must be drawn from the com parison of whole classes of words, and the uniform analogy of different languages. It would be foreign to my present ob I trust, however, that the ject to engage in such discussions. few examples which I shall select will amply confirm what has been advanced. appropriate term for cause. The same word, with only slight alterations, runs through Ursach, in German, of the several branches of ur, noun. is the an inseparable It the Gothic stem. preposition, Sache denotes a thing of and is compounded sache, a substantive moment, an interesting and im ur, signifies before or anterior. It now occurs only in composition, but its radical force is there portant object. The prefix, clearly marked. to designate the By the German mineralogists, it supposed trap and Ur-kalkstein Uranfangliche Gcbirgsarten. The same the employed Thus, Urgeneral class of primitive substances —comprehended under is : particle had passed into other dialects, and is even retained in English, though now very seldom used except by the poets — " Ere the mountains were </text>
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                <text>AN INQUIRY INTO 98 of ascertained by help a lighted taper. parative results are exhibited The com in the following table. Reflecting Substance. Effect. - Brass - - Tinfoil - -85 - Planished block tin - Tinfoil softened by the sion of quicksilver, with A plate of glass, a a coat 60 affu and brilliant surface - 50 substituted in the place of those metallic ones, produced With 7° - - - Lead 80 - - Steel 100 -go - Silver • an effect of about of wax or oil, the action did not 10. ex ceed 5. These few trials exhibit a notable diversity of effects. But the subject might be prosecuted much farther : and I may observe, that it is not necessary that the plates should either be circular or of equal dimensions; because tinfoil can al ways serve as a standard of comparison, and a coat </text>
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                <text>Anatomia Humani Corporis, centum &amp; quinque tabulis, per artificiossis. G. de Lairesse ad vivum delineatis, demonstrata, veterum recentiorumque inventis explicata plurimisque, hactenus non detectis, illustrata.</text>
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                <text>Originally published in 1685 (a later, Dutch edition, was published in 1690), Anatomia Humani Corporis features 105 copperplate engravings of the body, illustrating the muscular, skeletal, reproductive, and systemic organization of the human body with commentary. Measuring at roughly 51 cm by 36 cm, Bidloo’s anatomical atlas is one of the largest atlases created in the early modern period. The artistic influence of de Lairesse is apparent in each of the illustrations as they present the body not only in almost life size scale, but with the finely detailed accuracy that only a skilled artist could provide. Anatomia Humani Corporis was published in Latin by the widow of Joannes van Someren (a prominent book publisher in Amsterdam who passed away between 1678 and 1679), the heirs of Joannes van Dyk, Henry Boom and the widow of Theodore Boom in Amsterdam. Anatomia was dedicated to Henry Casimir II, the Dutch Stadtholder of Friesland and Groningen.  The drawings for the illustrations were designed by the Dutch artist Gerard de Lairesse, a close acquaintance of Bidloo's, and engraved by the brothers Peter and Philip van Gunst. de Lairesse introduced Baroque and Pastoral elements to anatomical illustration that had otherwise been unheard of. The atlas is divided into two major sections, one detailing the muscular and systemic organization of the body, and the second detailing the skeletal makeup of the body. Eighty-three of the plates depict the body in various stages of dissection, some providing details of the instruments used. The remaining twenty-two plates, three display the surface anatomy, and nineteen depict the various bones that make up the skeleton.</text>
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                <text>Allegorical Title Page&#13;
Text Title Page&#13;
Dedication to Henry Casimir II&#13;
About the Author&#13;
Author's portrait&#13;
Appraisal&#13;
Index of Tables&#13;
Introduction&#13;
The first part of the dissection of the human body&#13;
The second part of the dissection of the human body, acting on the chest, back, and loins&#13;
The third part of the dissection of the human body, acting on the belly and even intestines&#13;
The fourth part of the dissection of the human body, acting on the female and male reproductive systems&#13;
The fifth part of the dissection of the human body, acting on the limbs&#13;
The sixth part of the dissection of the human body, acting on all bones&#13;
Conclusion</text>
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                <text>Ontleding des Menschelyken Lichaams</text>
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                <text>Bidloo, Govard. Ontleding des Menschelyken Lichaams. Amsterdam, for the widow of Joannes van Someren, the heirs of Joannes van Dyk, Henry Boom and widow of Theodore Boom, 1690.</text>
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                <text>Beekman, Fenwick. “Bidloo and Cowper, Anatomists.” Annals of Medical History (1935): 113-129.&#13;
&#13;
Choulant, Ludwig. History of Bibliography of Anatomic Illustration In its Relation to Anatomic Science and the Graphic Arts. Trans. Mortimer Frank. Chicago: University of Chicago Press: 1920.&#13;
&#13;
Dumaitre, Paul. La curieuse destinee des planches anatomiques de Gerard de Lairesse. Amsterdam, Rodopi, 1982. Johns, Adrian. “Piracy and Usurpation: Natural Philosophy in Restoration.” In The Nature of the Book, Print and Knowledge in the Making. Chicago and London, University of Chicago Press, 1998.&#13;
&#13;
Kneoff, Rina. “Moral Lessons of Perfection: A Comparison of Mennonite and Calvinist Motives in the Anatomical Atlases of Bidloo and Albinus.” In Medicine and Religion in Enlightenment Europe. England: Ashgate Publishing Ltd., 2007. Pp 121-143.&#13;
&#13;
Kuretsky, Susan Donahue. “Lairesse Meets Bidloo, or the Case of the Absent Anatomist.” Midwestern Arcadia: Essays in Honor of Alison Kettering (2015): 28-38.&#13;
&#13;
Roberts, K. B., and Tomlinson, J. D. W. The Fabric of the Body: European Traditions of Anatomical Illustration. Oxford: Clarendon Press, 1992. </text>
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                <text>Bidloo, Govard. Anatomia Humani Corporis. Amsterdam, for the widow of Joannes van Someren, the heirs of Joannes van Dyk, Henry Boom and widow of Theodore Boom, 1685.</text>
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                <text>Artists</text>
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                <text>Bookseller’s ticker of Frederik Muller, Amsterdam</text>
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                  <text>Public Access (U.S. National Library of Medicine)</text>
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                  <text>Seventeenth Century Dutch Republic, Seventeenth Century England</text>
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              <elementText elementTextId="17358">
                <text>Anatomia Humani Corporis, Allegorical Title Page</text>
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                <text>The allegorical title page of Anatomia Humani Corporis displays a scene with several individuals performing various tasks in a classical landscape. In the foreground, Father time is shown holding an hourglass while his scythe lies on the ground on the left. On the right of the foreground, three putti are depicted; one hold a piece of parchment, presumably with an anatomical diagram on it in front of the other two, one of which holds a skull, and the other points to a forearm which is spread across a small table. Behind them is the title of the atlas, which reads "Godefridi Bidloo Medicinae Doctoris et Chirurgi Anatomia Humani Corporis Centum et quinque tabulis Illustrata." This is engraved upon a shield resting against a platform on which the allegory of Medicine sits, identified by the large volume that she rests against and the knife like tool she holds in her hand. Beside her, a young boy stands, his face shrouded by drapery, and the skin of his arm removed to display the inner musculature. Flying above and behind the allegory of Medicine is Gloria, identified by her wings and two horns. Finally, in the background, flanked by distinctly Baroque architecture, two skeletons converse with each other,</text>
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                <text>Gerard de Lairesse (artist), Peter and Philip van Gunst (engravers)</text>
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                <text>Vassar College Library</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1685</text>
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                <text>Govard Bidloo</text>
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                <text>Phillip van Gunst</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Public Access (Vassar College Library)</text>
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                <text>Ontleding des Meschelyken Lichaams</text>
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                <text>Anatomia Humani Corporis</text>
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            <description>The material or physical carrier of the resource.</description>
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                <text>Govard Bidloo, Anatomia Humani Corporis. Amsterdam, for the widow of Joannes van Someren, the heirs of Joannes van Dyk, Henry Boom and widow of Theodore Boom, 1685.</text>
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                <text>August 12, 2019</text>
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                <text>Photographs of Animal Science-Nutrition Building, 1966-1969, Archival &amp; Special Collections, University of Guelph Library, RE1 UOG A1995</text>
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                  <text>Public Access (U.S. National Library of Medicine)</text>
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